By Bily Clements hetheritisthe irsttime youhear aasong,orthe millionth time, asa guitarist youcantthelpbuttolisten totheguitartone.From therock-a-billysound of ‘DoritBe Cruel’, to the dynamicchanges in "Minerva" from the Deftones, each tone sharesamessage-Isitin your face, demand. {ng your respect, ordoes itenvelope you like “Misty” fromWesMontgomery?While can't ‘make you play ike Randy Rhodes, I can get youhistones, aswellas the other songs tones for this month's column. Here's yourguide togerting the greattones of this monthis songs. Justdial in these set- tings on your GNX3 Guitar Workstation and youre on your way. If you have MIDI on your computer its even easier. Just go to ‘wewstdigitech.com/guitarone to download the presets directly into the GNX3. Once you've got the tones, jump over to ‘the builtin mult-trackrecorderandlay down the rhythm tracks. Turn on the song repeat and you can practice that solo until you've got itnailed. You can alsouse the recorderas your portable tutor to practice this month’s lessons. Just download the “Heart On Line lesson MP3'sand take them with you. ono hope the tones, playing hints, lessons and music provided here inspire you to take _your playing to the next level, See you on stage. ‘Tone Guru Billy Clements is 20-year veteran ofthe stage and studio and isa prolific creator ‘oftones heard in countless recordings and per formances around the world. The Tones Between the Lines DigiTech* GNX3 Guitar Workstation-Powered Presets AEA FOO FIGHTERS “Times Like These” ache Terie te ae | OT hfe | UR | Uy | Wan al oe foot] 0 To wo ed) bonk [igat) @ | @ 00 | - (0 Pea Pr Pandas ita [eet fame ew = T= DEFTONES “Minerva” a ae ee ROR | tapi | Qe | Ue [iy | Nor a ces aia] 5 | T eat ‘ig x00 OA | Pamt | Pam |r | Pau | Pm Cae | OF cece it | OF een = W-ted | = Te Bewile| OF bay | OF eet | on | = T= “Gonsi| Gph ao (WES MONTGOMERY “Misty” ADVERTORIAL Warm, om = [= [= = |= | TRAPT “Headstrong” PEER tw [ton | GE | OS | ry | non oo tae fea 0 Te [w]e Tet ht [wpa a (OOF | Pam | Parnas warae| or |= [= [-|-[-— feet oe Pest eet Wea il Saga | Of a toa] — [ooo 5 [a | Tidetee ofa et = = Gene] OF [Ww | Fane | 0 me ae ease es shock ies — Ghat! [wee tw |= |= (0ZZY OSBOURNE “Goodbye to Romance” ett [we wa o pki tot fit PP =) = ELVIS PRESLEY “Don’t Be Cruel” ee] om TST a [et |G | te |i | Han ow wt ia [waa 0 es aie wa) S| | OD) a vn em [Pe [Pt a Digiech —‘musical climates—Grohl super poses a lino based largely on subdivisions of three eighth notes. Rather than tackle this Chinese algebra at the song's tempo of 144 beats per minute, set Your metronome to a comfy 0-100 bpm. Begin by counting a cycle of seven beats, tapping your footon each beat and clap- pingon the“one.” Then focuson the eighth-note rhythm by counting the more rapid 1-2-8, 1-2-8, 1-2-3, 1-2-3, 1.2 pattern (continue to clap on one"). If you have a musical partner around, one person can count the seven-beat cycle while another counts the eighth-note cycle. These patterns are shown, In Fig. 1; don't he surprised ifyou fall into Spongetob-and-Patrick fits of stupidity at first. Relatively basic chord shapes Foo Fighters Spayeete Sera “Times Like These” ene ines | eases gered like the previous C, only make you learn moze subtle | moved up two frets to third post By Dougas Baldwin A return to Rhy. Fig. 1 actually | musical skills. The opening D13 | tion. Unisons and 2nds also jeadFooFighterDaveGrohl | providesabitof groundingbefore | chord ofihy. Fig. lcanbeplayed | appear. (Hint:Real musicians wil Porters BSc Girne | bent e adn | Monessen justtherightblendofmel- a simple eighth-nove arpeggio of | fingers (lowest fretted note 10 | for notes placed adjacent or in dy, hooky guitar rifs, and con- | open chords (D-Am?-C-Em7), | highest ofthe fretuinghand,with | close proximity to find these temporary grunge-metal tone to | then uses the jagged the thumb wrapped | events) 3) create instant ear candy, yet | DI3 as a hook at the around the neck 10 » there’ enough inteligence and | end of each six-bar mutethelow string, TONE ZONE 4uirkiness in his work to bet on | melody. The chorus’ Thismutingisvitalto | GUITARS 1-2: Solidbody the ex-Nirvana drummer as an | gular parts bring the eliminateany further | PICKUPIPOSITION: artist for the long term. “Times | song back to a jangly harmonic clashes | Humbucker/Bridge Like These” is proof that Grobilis | college-rock sing- while continuous GAM morethanamerebundieafstreet | along that could al- down-strumming of | EQ: Bass/Mid/Treble: 7/4 “6-7 cred, he's. gasp... musteiart | most pass for a high: CT the eighth-note energy REM.cut,and cry rhythm is executed. FooRghters One by ne THE CASE FOR SUBTLE MUSICIANSHIP in one minute and 17, (cn) Thefinaleighth-note | (00680585, Gthands7th @andC) whileelim- | “PaperbackWrter"Yougo, Grohl) | quickly onto the strings. from theFoos'fourth lating the chords Sd (F), Grohl RHPA is a musical tongue- | album, Contact Muse Dispatch Approaches thissonorityin much | PRACTICE, PRACTICE, PRACTICE twister, Atop 7/4—an uncom. | today to order (800-637-2852, the same way that musical adi- The various ines of “Times Like | mon time signature in most musiedispatch.com calslike Henry Cowell, Thelonious Monk, or Sonic Youth would Grounded in accesible 4/4 ime the opening chordal assay Hig. 1 ebuges op ad With +++ 7 7 F + t four repeats, but then spins you round with Rif, arobot-likeline ‘aX = oa oe ". = ot eee eer ee<3 Guitar Workstation Powered TIMES LIKE THESE As Recorded by Foo Fighters (From the RCA Recording ONE BY ONE) Migiech Words and Music by Foo Fighters Intro Moderate Rock J = 144 Di Rhy. Fig < bs cs bs (aie) ree ed Ri A ted tee a Sees peo oe i ea | = 2 4s 3s ¢ = SS 2 Gir. 2:0 / RUA tie) JULY 20080 1 The Magazine You Can Play 118,Times Like These oe By. Fig. {TT A bt pa Ry. Fi. times) = = aS ad - Sf x : 4146 GUITAR ONE « guteronemag.com «JULY 2008,Times Like These c En? Tm a road that dives a-wy— ant fol lows you back home. — Tm 3 brand new Sky to hang the sans up = te gh (i. :w/ RutC (iy 1 8.2: w/ Ry. Fig. Gi 2cet pa D Vm a set = light shin = ing, Vm 2 white— ight bind Pm oa ited oa Mena po To Sy rn Gis. 1.82: /Rby. Fig. 1 time) c Em? DB = ing big. burn ing of sd on = 2 wy and leave cfs ee te = king Ry. Fig. end Ry. Fie-¢ low. errs Hooughow JULY 2005 @1 The Magazine You Can Play 117Times Like These (te: Ry. Fig 4 mes) c En? Daas ie 2: w/e RUD c Em? ‘Dadd4 To Coda @ 4 Po ee ee ee ee é =? is = zal Ea a — tke tie yr deme ln wy mes Ry Fe. 4 Use2 meas) Gyr Rubia tne x 12m Ry P12 c Ent ba 5 s — = - os ee a — ie tee, time od tne a gain _ | Interlude (te 1: Ry. Fie. 2 times) G2 9/ RUA times) ps cs Ds Bs oh on, ne oh, a te. 1:/ y. 3 Ge 2 Rue cs ps BS i a Se on. (ew Ry Fig ine) DB 448 GUITAR ONE « gularonemag.com < JULY 2008 ohTimes Like These DS. al Coda © Coda (te: Rhy. Fg 4 Stine) ic Em? as tee —— sine. ot te es bom pee = = —- * soos es —_ at = —- es ws aes i a los tas) ie 3: REC nes) c Bn? Dada — like these you ie. sod ge pln Ws timesTimes Like These gat fe oe. pete + ro? cases > > ¥ a | ask vet 1 Hike these, — time and time — Outro ‘Git, 1 / Rhy Fi 3 tes) (Ge 2ecet, c Bn? © En? you ave = te thew you, sdewm—_ dove —What’s Between the Lines eee ae a eee esi oet ee T t able subsonics. ally easier to play on rap ee Siena eadstrong eee ase “octafied” notes that Ormandy ae string set. a TONE ZONE | ae | surtan 1: Solidbody | BSimscooee | PrexuerPosmion: | Humbucker/Bridge | cam: 7-3 4 9: Bass/Mid/Theble:7/: SSUMTAR 2: Solidbody PIcKuPrPostTioN: Humbucker/Neck AM: 1 EQ: Bass/Mid/Treble: 6/6/7 3ULY 2008 G1 The Magazine You Can Play 121GNX3 Guitar Workstation Powered HEADSTRONG Digitech ‘As Recorded by Trapt (From the Warner Bros. Recording TRAPT) Transcribed by Adam Perimutter By Christopher Tylor Brown, ‘Simon Ormandy and Peter Charel Intro Moderate Rock J = 92 ta au bsa oxo se 0) ay Dsus2 cs a hy. Fig (te w/Riy.Fie 1 Eau? Daw? cowed ia nd Rit A L Ge ing, your're cir - cl - ing. your're 122, GUTTAR ONE « gutaronemeg.com UY 2003Headstrong Verse (te 2:6 RE A (4 tie) sus? Daud coud cir = cl = ing, your head, ‘con-fem

@1 The Magazine You Can Play 123Headstrong Bsus? Daw? Bick off, we'll take you on, head = song. 1 take on ay = one Ess? Dons? cs 1 know that you are wrong and thie x tt where you be = long — Bridge 2rd, w/e backround ves E cs bs 124 GUITAR ONE «guitronemag.com «JULY 2003Headstrong (Gu. 2: w/ RTA tines) be 1 cet Ss Daw? cwust Eu? Deus? Caus2 JULY 2008) 1 The Magazine You Can Play 128,Headstrong Interlude Double-Time Feel nad) Dado nd serene Oh eetons, py 12 Feta. = = St Ss aes TE a [Se =] Fe +: S ae SS = aa avin ae oie ps | & End Double-Time Feel Em(add9) = ae & = 1 know, know alla boot 1 know, 1 know all about yourGin. 283 et Coda Bridge ‘lr: Rh. 2 (times) ‘Timi ak round vocals Es and (G1 w/ Ray Fa your ae Headstrong DS.al Coda BGs ide. you be = hong — cnt ive cs bs thing gee (Ge. & 2:0/ Ry. FT SRA stim) yy Es cs cs bs ps where you be = fong.— Repeat and Fade maWhat’s Between the Lines mixing’#0s alt-rock sounds with | Mixolydian tonality in the midst theiréignature heavy tunage, the | of a tune squarely in E minor. band secured an identity sepa- Figs. 2-8 below, with their ratefrom theircontemporaries. | octavesand low D drone, are fur “Minerva,” the first single | ther examples of how to estab- from Defiones' eagerly antici- _ lish a modal tonality. Fig.2is an pated self-titled release, picks | example in D Mixolydian up where White Ponyleft off. (D-E-F8-G-A-B-C),andFig.3isin Diydian (D-E-Ft-GE-A-B-CH) nTRO RIFF To jam along with guitar- | THECNORUS ist Stephen Carpenter and | Since drop-D tuning and its Miners,"youllfisineedvotune | accompanying one-finger your axe to drop D, dow a half | power chords came into voRue ep (D-AS-D-Gi-BH-E5, low to | & few years ago, the suspended high). With an ever-so-slight- | chord has become a favorite of touch-of-grunge modern metal gut lean tone gainsetto tarists, Carpenter *19,Campenter opens included. The chorus the track with an Hck offwith a Gsus2; intriguing take on a play thechord simply 9 chord (Fg. 1. By f with your index fn selectively picking ger barring strings 5 two of three notes at and 6, and with your the chord, fing finger fretting he creates a chilling string 4. The sus: haunting, atmopher. pended chord, par Ieefect that sets the Heularly the #us2 tone for Moreno’s chord, adds to the esoteric yrce, ‘ast and open sone feel of the ForRITA theguitarsexplodein | song-—not really major, not alltheitheavygloryintoanoctave | really minor, just big BP Tine played over a droning low D note PlaytheG,A.andF¥octave | TONE ZONE on ” Shapes with yourindectingeron | GUITAR: Solldbody electric inerva {heh string (hat finger should | PIGKUPPOSTON: also mute the 4th string) and | Humbucker/Bridge = fltheryourringo pinky ger | @AIN: 8 oa oe eee ata | eae nes ements hen Deftones hit the | the alt-metal heap; the single | you—on the 3rd string. = ie ee ‘ene back in 1995 | “My Own Summer (Shove It)” | The drone is a particularly | El ‘were one of the first in the crop | Deftones had become a chart | in which you want to establish of nd-metal bands. They were | success, yet they stillhad much | an ethereal feel. The drone is erroneouslylumpedinasaKorn | to show the world in terms of | alsoaneffective tool for creating derivative, however, as they | theirmusicalability.The band’s | modal sounds. You can hear a jemated theirmetalriffingand | 2000 release, White Pony, cap- | great example of this in the screaming vocals with ethereal | tured their experimental side, | interlude to Soundgarden’s moods and whispered vocals. | withfansanderiticsexclaiming, | “Fell on Black Days” [DEC/97}, Then, in 1997, Around the Fur | “Wow, Chino can really sing!" By | where the band establishes a D | aa = 128 GUITAR OME « gutaronemag.com «JULY 2008,GNX3 Guitar Workstation Powered MINERVA ‘As Recorded by Deftones (From the Maverick Recording DEFTONES) Transcribed by Adam Perlmutter By Camillo ‘Chino’ Moreno, Stephen Carpenter, ‘Chi Cheng, Abe Cunningham, Frank Delgado Drop B ning. tune down 12 ste (low thigh) BeabDeGe- Bs Intro Slow Rock J= 72 be s s st jie 4 SOA CRISS Ed Rhy. Fig s PAAR RS D ia nd RITA 2) 2 ie 2: wR — 3 —- « ——— Se = = a Moe at 3ULY 2008 1 The Magazine You Can Play 129Minerva Bverse a é i eae = Se = | (tr 3: W/ RAFAL (ines) oa ai ° eee Such sarge a oe ° : Ce TP Pe wo ttTtPetetsyetetitsr a | ee ae | UL 2008 G1 The Magazine You Can Play 153GNX3 en AOS ae teen eS DON’T BE CRUEL As Recorded by Elvis Presley (From the RCA Recording ELVIS: 30 #1 HITS) Arranged by Adam Perlmutter Words and Music by Otis Blackwell and Eivis Presley ER a tel an tn HEH ire Moderate Shure J = 160 (J = JD) Verse a ply 3 mes > Yo know 1 canbe found — by, if 1 mide you mad = st = ng ome ak ene “ for some tht “T" might have” sd D aS i = you cmt comes + roan lim game eaten ee ye fe ue Tos a: Rt = s+ ales —— we = = ‘= want 0 oh = er ove be by its jut D a —S=— = —t se tink ing of 3. Don't — SSS —2 e t t crane ne = v om oe. =. a 4184 GUITAR ONE « gutaronemag.com « JULY 2008Don’t Be Cruel = t t way come en Over here and love me, you oe Then youll know Soul Tawve me, and "Tu Db Em — te = pa = SI know what 1 want =e you tay. oes ae Know aT fre you. a heart thats NPE 219) tea OIE pen. fetter Sly one ga ia fen ke cee cae Be aie he A > p+ = = = Jaeas : my ces my tan ers j ‘you 'm—_ ‘think - ing = SEES eee SESE 3 ee as t — be ~ = —————— 1 don't int ot 7 fe inking love JULY 20090 G1 The Magazine You Can Play 158